The best music you're not listening to.™ Reviews of lost classics and obscure titles. Unheralded bands and songwriters. New bands deserving of greater attention. The site for the music omnivore. It's all here, on the Ripple Effect

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Thursday, August 17, 2017

The 1970’s were a crazy time in music; a lot of things were
happening all at once in the rock universe. By 1972, Led Zeppelin was already
known as the “biggest band in the world” and the Grateful Dead was making their
way around Europe in what would become one of
the group’s greatest tours. The scene in San
Francisco had dissolved for the most part and the acid
rock of a decade previous was starting evolve as a result. One of the earliest
examples of this evolution is Iron Butterfly’s “In-A-Gadda-Da-Vidda” which was
released in 1968, marking a definitive turning point in rock music. Following
the success of “In-A-Gadda-Da-Vida” many bands started experimenting with
heavier sounds both in the United
States and around the world. One of those
many bands was Brooklyn’s Sir Lord Baltimore
whose 1969 debut, Kingdom Come, sent a shockwave through the rock community.

Often considered by many as the “godfathers of stoner
metal”, Sir Lord Baltimore was doing things reminiscent of Jimi Hendrix,
Motörhead and the MC5 making their sound really unique and perfect for 1970.
The album’s opening track, “Master Heartache”, kicks off with a thunderous and
ferocious Gary Justin bassline beautifully setting the tone for what’s to
follow. Bringing together elements of the blues, jazz, an early form of punk as
well as what was left over from the acid rock predating the band’s existence,
Sir Lord Baltimore crafted a primitive and new kind of rebellious listening
experience. Heavily distorted, ugly and sludgy, Louis Dambra’s riffing is
infectious; especially on songs like “Ain’t Got Hung On You” and “Lady of
Fire”.The guitar parts are masterfully
pitted against the heart pounding and tenacious drumming and singing of John
Garner. His voice is rough around the edges and horse only adding to the band’s
already blues heavy sound. Along with all of this the band included a stunning
homage to the psychedelic baroque rock they’d originated from with “Lake Isle
of Innersfree”. The harpsichord builds a gorgeous foundation for the 12-string
acoustic guitar and Garner’s voice to float effortlessly on top. However, none
of this could’ve been possible without the album that came out a year before
it.

In sticking with this power trio idea, no one embodied that
moniker more than San Francisco’s
Blue Cheer. In 1968 they helped to define what would become known has heavy
metal and what a power trio was supposed to be. Their debut album Vincebus
Eruptum was heavier and louder than anything that came before it. The phrase
titling the album is latin for “controlled chaos” which is a perfect descriptor
for what this record is. Inspiring most of what followed it Vincebus Eruptum
had on it not only some of the band’s best work but, some of the blueprints for
heavy metal was going to sound like. The album starts off with a devastating
cover of Eddie Cochran’s “Summertime Blues” which became a massive hit for the
band and was geared more towards the bikers than the hippies. Blue Cheer
created a dark and almost primal listening experience when compared to other of
the day and shined a light on the other side of the San Francisco music scene.

The band had undeniable chemistry and it was evident on
songs like “Doctor Please”. The unmistakable guitar sound of Leigh Stephens
paired with the soulful, raspy howl of bass player and frontman Dickie
Peterson. Stephens pushes his amps to the max by cranking things up to 11
(literally) and creates a mountain of distortion and fuzz thrust forward by
Paul Whaley’s epic, gargantuan drums. Dangerous and explosive Blue Cheer
destroy Mose Allison’s “Parchman Farm” and nearly go off the tracks with
“Second Time Around”. From start to finish Vincebus Eruptum is an eruption of
sound and set a new, electrifying standard in the world of heavy metal.

Wednesday, August 16, 2017

Shooting Guns provide the perfect soundtrack for the morning
after the apocalypse, when you are sitting in the rubble of your home in a
bathrobe and think, ‘What should I do now?’ and end up zoning out for hours in
a psychedelic trance instead of making a survival plan. Bad move on your part,
because you are probably going to die.

Canadian sextet Shooting Guns is known (and oft-nominated)
for their film soundtrack work, but Flavour Country is more like a collection
of anthems for your jettison from this universe into the multiverse.

While they’re known for heavy and saturated sounds befitting
crazed horror-comedy flicks like Netflix hit WolfCop, Flavour Country features
some of the band’s fastest, heaviest and most visceral material to date. Yet,
it also features some of the band’s most atmospheric sounds as well.

At times there are slight hints of Ennio Morricone’s
Spaghetti Western twang amidst the looping Meddle-era Pink Floyd heavy psych
and driving drone reminiscent of Bobby Beausoleil’s belladonna laced soundtrack
to Kenneth Anger’s Lucifer Rising. But for the most part here, Shooting Guns is
out for blood, regardless of tempo.

Album opener “Ride Free” kicks off with a blistering wall of
guitars blaring and rattling out of the gate like mutant progeny to fellow
Canadian biker-rock heroes Steppenwolf having duly fired all of the guns,
exploded into space and returned to hunt down every last one of us. It
accelerates from there: “French Safe” sounds like an unhinged battalion of
musicians driving full throttle like a scene from a George Miller Road Warrior
movie. Biting, lengthier tracks like “Simian Shelf” and the title track occupy
the heavy end of the psychedelic spectrum, haunting the foggy moor between
early, bluesy Sabbath-styled doom riffery and heavy pulse-riding kraut-rock.

Flavour Country is the first album recorded by the band
themselves at their own Pre-Rock Studios in Saskatoon, SK,
located in the middle of the Canadian prairies. The album title’s spelling is
itself a nod to the band’s Great White North homeland. The album was mastered
by John McBain (ex-Monster Magnet, Carlton Melton), who also mastered the
band’s previous RidingEasy releases.

Shooting Guns have toured over 60,000 miles across Canada
over the past 7 years but have yet to tour Internationally, which will be a big
focus for them after this release. They are touring their live score to F.W.
Murnau’s Nosferatu across Canada throughout 2017 and also just finished scoring
the soundtrack to Another WolfCop (sequel to WolfCop), which is slated for a US
theatrical release in Sept 2017. Their sophomore LP, Brotherhood of the Ram,
released in 2013 through RidingEasy Records was nominated for the 2015 JUNO
Metal/Hard Album of the Year as well as the Polaris Music Prize. Their debut
LP, Born To Deal in Magic: 1952-1976, was also nominated for the Polaris Music
Prize in 2012.

Portland,
OR extreme metal band WORWS
(read: Wars) will release its new album, Truth to Power, on September 22. The
follow-up to the band's 2016 debut, Laylines, the impending LP delivers
pulverizing crossover that combines grindcore, powerviolence and d-beat with a
fever-pitch intensity. Truth to Power is advanced by the record's hammer-drop
title track, a violent, lightening-quick assault condensed into pure
aggression. Stream WORWS' new song "Truth to Power" at THIS location.

WORWS' raw
sincerity, take no prisoners live show and D.I.Y. work ethic has earned the
band a vast loyal following and shows alongside scene stalwarts such as OFF!,
Trap Them and Today is the Day. Formed in 2015, the band established a
sharp-edged sound and focused modus operandi, attacking societal wrongs and
ignorance. With Death, The Wipers and Slayer reigning over their record
collections alongside contemporaries such as Ceremony and Defeater, WORWS has
waded their way through the oppression of the working class and are here to
fight.

Tuesday, August 15, 2017

In an attempt to get viewers going with lively comment
interactions, Pitchfork recently asked which television show old or new has the
best music. Naturally I jumped right in and tagged The Hilarious House of
Frightenstein enforcing my belief on several readers who may or may not have
heard of such a show. Here's why I'm still obsessed with my favorite tv show,
that I relentlessly watched as a kid, all these years later.

Billy Van.Toronto born, quadruple
threat and mastermind behind one of the greatest children's television programs
of all fucking time. The Hilarious House Of Frightenstein operated in uncharted
territory for its time and lured in countless Canadian children like myself
with its multidimensional spook show spectacles.

Van himself played six characters and forever had me
entranced as the silly yet sweet 'Grizelda, The Ghastly Gourmet' (nutrition),
'The Librarian' who actually terrified me (literature), 'The Oracle'
(astrology) who I always wanted to write a letter to so they'd read it on air
and shout me out. Then there was 'Wolfman Jack' (music/arts) the resident
castle DJ who inspires me to this very day with his quintessential 60's &
70's playlists and his super psychedelic dancing backdrops he shared with Igor,
the massive sidekick to 'The Count', (the star).The opening intro is still unmatched today
thanks to Vincent Price, and each character added their own distinct flavor to
the mix.Billy Van and THHOF crew made
television history.

So whenever someone asks me which tv show I think has the
best music I immediately think of Igor and The Wolfman dancing to Midnight
Confessions from The Grass Roots, or Strawberry Alarm Clock's Incense and
Peppermints. I'm forever grateful Billy Van and the team included rock and roll
as part of a healthy child's brain development. It's made my world what it is
today.I hope you check out THHOF and
journey back to a time when tv was made by eccentric music lovers and
passionate creators who fearlessly worked their magic on small budgets and
limited transmitters.

Monday, August 14, 2017

I have to admit it took me a minute to grasp Faith In Jane's
latest album, 'Rhythm Of Elevation'. But after two or three spins this release
opened up and a beautiful gem presented itself to me. And I duly kicked my own
ass for not getting it at first. But that's how it is sometimes. Better late
than never though, which I am thankful for, because this Maryland trio has created an amazing
recording!

Going for a mainly bluesy, jam-filled version of stoner
rock, there’s more to it than that. Subtle nuances allow the songs to take on a
whole different life, small tweaks here and there. And that’s what makes this
album stand out. Hell, they threw in ‘Passage’, a bluegrass-tinged song and it
works so well. These guys aren’t reinventing the wheel but they take what they
have and what they know and throw it in a cauldron. Adding excellent
musicianship to the concoction, their stew doesn’t have to cook long at all
before it is ready. The end result? ‘Rhythm Of Elevation’!

Chaotic, crawling and punishing, opener ‘The Ritual’ sets
the record straight right away. Taking no prisoners, Faith In Jane are
relentless as they unleash one of the most metal-sounding tracks on this album.
‘Trip And Watch The World Burn’ brings out the bluesy, jam stuff coupled with
doomy undertones. Clocking in at almost 11 minutes it weaves back and forth
between mid-tempo to faster paced rocking giving you time to watch our world
disintegrate. Oh, just let the amazing solo little over halfway through wash
over you and cleanse you from any kind poison…wonderful, indeed! Stoner blues
at its finest, ‘Mushroom Man’ is a bulldozer trip and a half. Led-heavy and
spaced out, this composition crushes everything over and over and I just come
back for more. Despite punctured lungs and broken ribs I give in to the world
according to Faith In Jane and constantly ask for more. ‘Passage’ is the
oddball here, being a bluegrass ditty, but it fits in so well and that’s
another beauty of this band.

‘Daze Of High Adventure’ is not only the longest song, over
14 and a half minutes, it is also Faith In Jane’s barnburner. Everything this
band is has been blended together excellently here. Stoner, doom, jam and
blues. Fantastic! ‘Farewell’ is a beautiful eulogy about dearly departed and
musically it is akin to the great Southern Rock bands like The Allman Brothers
fronted by the late Andrew Wood of Mother Love Bone. Amazing and again, listen
to that solo! ‘Return’ closes out ‘Rhythm Of Elevation’ and is another
headtrip, and then some. These guys knows how to help you on the way to astral
traveling and this track is the key to that. Close your eyes, sit back and go!
Faith In Jane will show you amazing things.

Sunday, August 13, 2017

When I was a kid,
growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel,
the first time I ever heard Kiss's "Detroit Rock City," it was a
moment of musical epiphany. It was just so vicious, aggressive and mean. It
changed the way I listened to music. I've had a few minor epiphany's since
then, when you come across a band that just brings something new and
revolutionary to your ears.

What have been your
musical epiphany moments?

My parents were always listening to old 60's, 70's rock, so
I grew up with Led Zeppelin, Deep Purple, The Doors, The Beatles, The Stones. It's
really when I got in high school (when your 12 years old in Quebec) that I dug deeper into those bands,
listening to their full albums and getting into it. A Funny moment was when,
back in high school, we were all doing skateboard, one of the guys had Misfits
stickers and he was saying it was a skate brand. The guy next to us said: Hey
stupid, it's an old school punk band. I became good friends with that guy, we
started our first band and he got me into metal bands like, Black Sabbath,
Metallica, Megadeth, and also Nirvana. That's how it all started.

Talk to us about the
song-writing process for you. What comes first, the idea? A riff? The lyrics?
How does it all fall into place?

I write with the Kurt Cobain method, melodies first always. At
any given moment you can write a cool riff but it's when you get a strong vocal
melody over it that you know you're holding something. I will usually write the
lyrics long after the song is complete, usually a little bit before we hit the
studio. I always have temporary lyrics for singing live but it's in the studio
that it all comes together. I always thought I was weird doing so but I reed in
a lot of my favorite artists bio that they did the same.

Who has influenced
you the most?

The Beatles had a strong influence on me, not just because
of their music but their whole career. Seeing them evolve from unknown guys
living in Liverpool to one of the best
songwriters of all time really influenced me. Reading their bio they seemed
like taking influences from wherever and it led to some really great albums
(sgt. peppers, abbey road). I later got into the stoner scene (Kyuss, Uncle Acid,
Sleep...) which really influenced me to start the Hazytones.

Where do you look for
continuing inspiration? New ideas, new motivation?

Inspirations comes from a lot of place, long nights of
insomnia, touring, relationships. I'm also inspired by all the great stoner rock music coming
out these days, the scene is so strong and they are so many good bands getting
their music out there. Motivation comes from the fact that I really like being
on a stage and on the road.

We're all a product
of our environment. Tell us about the band's hometown and how that reflects in
the music?

Montreal
is a great place to start a band, this city probably has as many musician's as
people who go to gigs, which leads to a really big amount of bands playing
every night. This gives you a feeling that, when you think your band is
great, you go out to gigs and see those amazing bands and you tell yourself; I
got to get tighter and practice my scenic presence and write better songs. I
sometimes feel that Montreal would have been the
Seattle of the
2000's if the music industry had stayed the same.

Where'd the band name
come from?

We had been trying to find a good name for at least a month.
We did a show under the name Stoneage (lol). I wanted to have a stoner
reference in the name, Frey suggested the Baritones over facebook and it made
me think about Hazytones. Right then and there we kept it and it felt right

You have one chance,
what movie are you going to write the soundtrack for?

I'm a big fan of old westerns (Sergio Leone, Clint Eastwood,
Tarantino) but the music on those movies is already pretty good! So I would say
the next film by Tarantino, I would love to do some desert rock/stoner on one
of Tarantino's or even Scorsese!

You now write for a
music publication (The Ripple Effect?).You're going to write a 1,000 word essay on one song. Which would it be
and why?

Probably Marked by the Devil, cause it's a metaphoric dark
vision of life that I enjoy singing live. I assume people can relate to it in
any ways they want.

Come on, share with
us a couple of your great, Spinal Tap, rock and roll moments?

Well there are so many things that I can't say in an
interview (lol). Touring is all about the after party's in my opinion. If you
don't enjoy the after show's well it must be tough to be on the road. One night
on our last tour we were playing in Prince
Albert, Saskatchewan,
not a big town. I could not find a venue so we ended up in a library with 3
other bands. I managed to get a liquor license to sell in 30 minutes
(gotta love Saskatchewan),
so obviously we got drunk. Just when we started our set about 8 stoner kids
walked in and knew all of our lyrics. They invited us for a crazy after party
at their place. This is what makes the road fun, you never know what to expect.

Tell us about playing
live and the live experience for you and for your fans?

Playing live is something magical almost spiritual. Nothing
else compares to a band and an audience connecting. What's great about being on
tour is when you play your set every night, you start to improvise some things
but you feel confident about them. What makes a great live experience is when
the crowd turns you on (we usually end up acting crazy on stage when that
happens) which then turns the crowd on. I think nothing beats this feeling.

What makes a great
song?

I think good hooks will make a great song. A lot of things
can be a hook, a great riff, a good melody or the arrangements. But you need
something that, from the first listen will make you go; what is this I'm
hearing, it caught my attention. I think you have to stay away from having a
sound that is too similar to somethings that's been made. I am not saying our
music is reinventing anything but I want people to recognize the Hazytones
sound as soon as they hear a couple of notes.

Tell us about the
first song you ever wrote?

What piece of your
music are particularly proud of?

Well I am definitely not proud of the first songs I wrote. To
me my first real album was The Hazytones. And we wrote the music when the band
was fairly new so, I am really eager to get a second album out. I feel like
this one is really going to be the album of a lifetime, now that we gained a
lot of experience with the first album and the touring.

Who today, writes
great songs? Who just kicks your ass? Why?

Josh Homme is really doing great at the moment, I think he's
a really talented songwriter. I think King Gizzard & The Lizard Wizard are on the right
track too, releasing so much new material like they were a 60's band gives me
hope that the market is big enough for lot's of new music. Ty Segall is also a
good example, he gets involved in multiple projects, he's always touring, and
he has killer material. Also a big shout to smaller stoner bands like Elephant
Tree, Black Mastifs, and Mothership (which is becoming huge).

Vinyl, CD, or
digital? What's your format of choice?

Vinyl to me, is the only real format for listening to music
the way it was meant. It is the only format that is going to make you listen to
the albums the way the artist wanted you to listen to it. Digital is made a bit
more for ''hits''. Nowadays if you have one strong hit on an bad album your
band can still get a lot of exposure but it will never be as rewarding as
having a good full length.

Whiskey or beer?And defend your choice

Whiskey!!! If all venues could bring me coca-cola, whiskey
and ice I would be a happy cat. I'm a big fan of bourbon and old fashions too.
The problem with whiskey is if you have only 2 drink tickets, you will last
longer with two pints than two whiskey coke.

We, at the Ripple
Effect, are constantly looking for new music. What's your home town, and when
we get there, what's the best record store to lose ourselves in?

I grew up in a really small town with no record store. But
if you're in Montreal
check out ''La table tournante'' (the turn table) it's the best in the city in
my opinion.

What's next for the
band?

More touring cause we enjoy it so much. We want to hit the
U.S.A in January and Europe again in April. Between
those tour we will work on an second album that is 60-70% written.

Any final comments or
thoughts you'd like to share with our readers, the waveriders?

Continue to support emerging bands and go see them live! You
guys are making bands go somewhere. I am really thrilled with the ''stoner''
community, you guys are rad and I love you all.

Saturday, August 12, 2017

Do you ever
feel like people are judging you by what kind of music you listen to? No need
to worry here, we only judge folks by what they aren’t listening to for the
most part. These albums here make part of some more of the best music you’re
not listening to and it’s our mission to change that. Let’s kick things right
into gear with one of the heaviest outings of the season so far. Not only is it
heavy but its mandatory vinyl worthy being released this weekend on STB
Records. Olde are not that old, in fact this is their sophomore album with an EP release late
in 2016 in preparation for the new album
Temple. Head over the the
STB bandcamp page as there are still vinyl pre-orders up for sale, which is
rare for the label. I grabbed a die hard edition. You will shit your pants when
you see the covers to these die-hards STB is putting out, worth it for the
cover alone.

Olde – Temple

This may
very well be the heaviest album of the year. Primal, doom-ridden hypnotic
sludge metal with earth shaking rhythm and skull cracking groove.

Since we
started off with the heaviest album I’ve featured so far this year, we’ll keep
it in ascending order in terms of blatant abuse. Next up comes a fine album and
third full length by Texas
rockers Greenbeard called Lödarödböl.

They say
the third time is the charm and Greenbeard have proven that statement with
their latest offering. The Texas
trio have taken their blistering stoner riffage to new heights melting faces
with bluesy psychedelia, precision vocal tones and a radiant progression of
song craft. The artwork continues on the theme of badassery with another
example of supremacy. You can't afford not to grab the 1st press on
vinyl.Favorite track: Wyrm.

The next
album is a new discovery for myself and popped up just earlier this week on the
good old bandcamp feed courtesy of Mr. Steve Woodier host of The Shrieks From
Below blog. Although he has a tendency to sport some of the most horrendously
brutal albums on the feed, he also has some of the best ears in bandcamp and
snatches up even some soft rockers from time to time. This time he recommended Have Blue and their new album Melted Mind. Its title hits the spot as
your skull will be smoking shortly after the first song riffs start blazing.

Have Blue
have melted my mind with a heavy dose of acidic fuzz resulting in possible
death by electrocution.

This is
where it’s okay to put your judging suit on. The Judge just released Tell
it to the Judge, their sophomore album via the one and only Ripple Music
and it’s been adjourning our free time with retro glazed riffs ever since. It’s
probably a good idea to grab the limited vinyl to go with your copy of the debut re-released
by Ripple last year.

Me: Your honor, the vintage
melody is jammed with psychedelic flavoring, the solo ballads blaze with heavy
blues and the vocals croon like a moonlit howl of a werewolf. I haven't heard
riffs this ornery since 1975.

Judge: Says here you were born in
81'. Guilty on all counts. I sentence you to mandatory vinyl treatment. Lock
him away in Ripple purgatory boys.

This one I
haven’t been able to stop playing lately. Its go such an infectious buzz to it.
Take a listen for yourself. The
Moonshine Brand – Welcome to Gypsy Town is name your price and I’ll be
judging when I don’t see your profile pic pitched under the album cover on
bandcamp.

We’ll finish off this week’s edition with a killer album
coming from way down south in Argentina
sung in their native tongue and honking their horns to the stoner realm with
pride. Montaña Electrica - Selvas y Trópicos should be taken
seriously. Don’t be scared of the Spanish lyrics because the music is a rocking
good time.

As always let
us know what you think, tell a friend, go to a show. If not for all of us
camping out here in the underground, the world would be a less enjoyable place.
When your friends are judging you over your loud music, turn it up louder and
tune it down lower. Bonanza judges only those who do not listen.

Digital Ripple Music Releases Available at Bandcamp!

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